I Tatti Studies最新文献_第10页

Etruscan Dreams: Athanasius Kircher, Medici Patronage, and Tuscan Friendships, 1633–1680 伊特鲁里亚人的梦想:亚他那修·基歇尔、美第奇的赞助和托斯卡纳人的友谊，1633-1680

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I Tatti Studies Pub Date : 2018-09-01 DOI: 10.1086/699710

Suzanne Sutherland, P. Findlen, Iva Lelková

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Monsters of the Pastoral Stage and the Nature of the Unnatural 田园阶段的怪物与非自然的本质

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I Tatti Studies Pub Date : 2018-09-01 DOI: 10.1086/699614

Karen T. Raizen

{"title":"Monsters of the Pastoral Stage and the Nature of the Unnatural","authors":"Karen T. Raizen","doi":"10.1086/699614","DOIUrl":"https://doi.org/10.1086/699614","url":null,"abstract":"ALL ENDS WELL in the idyllic hills of the Aminta and Pastor fido. The pastoral stage of the sixteenth century provided an escape from the realities of courtly life and a haven in which even the most dire twists and turns of plot could be resolved into a perky lieto fine. The tragic protagonist of Torquato Tasso’s Aminta, spurned by his beloved, flings himself from a cliff, but in the end he brushes it off, having landed serendipitously in some brush. Battista Guarini’s characters in the Pastor fido are hurled toward a collective tragic fate until they discover a family secret, at which point everything is resolved. Yet the pastoral stage, despite its happy resolutions, is by no means a carefree locus: in both Tasso and Guarini’s plays, darkness and death tinge every scene, displaying the morbid underbelly of the golden pastoral surface and the shadows that lurk in the hillsides. Monsters figure prominently in both the Aminta and Pastor fido. Each play features a satyr—part man, part beast—in crisis, touched by love, but unable to ever be himself loved. As satyrs they are the most visible manifestations of monstrosity but are by no means the only ones. In both works, love is proclaimed as a monstrous force, the worst the world has to offer. It is love that perverts, deprives, and pushes characters toward the inhuman, or the less-than-human. Tasso and Guarini’s vocabulary choices cement the monstrous into language: both plays are lit-","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86074895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Tolomei’s Project for a Planned Renaissance of Roman Architecture—Unfinished? 托洛梅的罗马建筑复兴计划——未完成?

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I Tatti Studies Pub Date : 2018-09-01 DOI: 10.1086/699757

B. Kulawik

{"title":"Tolomei’s Project for a Planned Renaissance of Roman Architecture—Unfinished?","authors":"B. Kulawik","doi":"10.1086/699757","DOIUrl":"https://doi.org/10.1086/699757","url":null,"abstract":"THE FAMOUS LETTER WRITTEN BY THE SIENESE HUMANIST , philologist, politician, and—later—bishop Claudio Tolomei in 1542 and published in 1547 contains a vast program of at least twenty-four books to be published by a network of learned men in Rome dealing with ancient Roman architecture and its contexts andmeanings. While this letter has been reprinted several times and referenced often, few have taken seriously what Tolomei originally wrote. For instance, he claims that the entire program could be finished in less than three years. However, modern research has accepted only one book and two related groups of archaeological drawings after tombstones and sarcophagi as resulting from the work of Tolomei’s network. Recent research instead suggests that Tolomei was right and that not only can large numbers of still understudied sources be traced to his network but also many of the famous early printed books on Roman antiquity can be as well. Following the systematic order of Tolomei’s letter, this article will give a preliminary overview of those sources and books which can be attributed—even still somewhat hypothetically—to Tolomei’s network of artists and scholars, given that they fit so well into the program’s descriptions. They should therefore be seen as concrete re-","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75570939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Function of Michelangelo in Vasari’s Lives 米开朗基罗在瓦萨里生活中的作用

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697048

Deborah Parker

{"title":"The Function of Michelangelo in Vasari’s Lives","authors":"Deborah Parker","doi":"10.1086/697048","DOIUrl":"https://doi.org/10.1086/697048","url":null,"abstract":"HOW IS MICHELANGELO presented in the biographies of other artists in Giorgio Vasari’s Lives of the Most Excellent Painters, Sculptors and Architects? While Vasari’s 1550 and 1568 biographies of Michelangelo have been amply studied, less attention has been paid to the many references to the sculptor elsewhere in the Vite. References to Michelangelo in other biographies address a wide variety of subjects: artists who studied his work, Michelangelo’s evaluation of the work of other artists, his friendships and collaborations, antagonists who sought to thwart him, artists who influenced his work, and Vasari’s occasional disagreements with him. Although Vasari touches on some of these topics in the Life of Michelangelo, the individual biographies, taken together, provide a much fuller account of the rhythm of Michelangelo’s life and the nature of the artistic circles in which he moved. As this essay will demonstrate, a close examination of these references can provide considerable information about artistic practice in Renaissance Italy. The Michelangelo invoked throughout the other lives notably augments the “divino Michelagnolo” extolled in the sculptor’s own vita. Many of the stories about Michelangelo reported in other biographies are well known. My interest lies less in recalling them than in exploring the allusions as a group and showing how they contribute to the synchronic structure of the Lives. While it would be an exaggeration to say that the references to Michelangelo form a narrative, they do form a tendentious accumulation. Subjects recur and often appear in clusters over the course of two or more biographies: there may not be a","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83828286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

“False Prophecies,” Scripture, and the Crisis of Mediation in Early Modern Rome: Sebastiano del Piombo’s Borgherini Chapel in San Pietro in Montorio “假预言”、《圣经》和近代早期罗马调解的危机:塞巴斯蒂亚诺·德尔·皮昂博在蒙托里奥圣彼得罗的博尔盖里尼教堂

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697079

M. Libina

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Editor’s Note Editor’s音符

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697117

Jane Tylus

{"title":"Editor’s Note","authors":"Jane Tylus","doi":"10.1086/697117","DOIUrl":"https://doi.org/10.1086/697117","url":null,"abstract":"The cover for this issue features a predella panel from the Berenson collection by the Sienese artist Matteo di Giovanni of a young Augustine in elegant dress, eyes closed, a book in his hand (fig. 1). We find him in desolate terrain, albeit marked by an elaborate architectural structure emitting from one of its windows a heavenly light. Kneeling in prayer not far from her son is Augustine’s mother, Monica, her gaze steadily focused on the drowsy young man. In this quasi-mystical space— the stony slabs make one think of Jerome’s or Anthony’s time in the desert—Matteo gives us the moment just before Augustine’s eyes fall on the passage from Paul’s letter to the Romans, in which the apostle counsels his readers to “put ye on the Lord Jesus Christ, and make not provision for the flesh in its concupiscence” (Rom. 13: 13–4). This is thus the setting of conversion, even if it is hardly the “Milanese garden” of the Confessions, where Augustine hears the voice telling him to “tolle, lege”—take and read the words of the Bible randomly opened before him. Painted for the church of Sant’Agostino in the little town of Asciano around 1474, this is the only surviving panel from the predella to Matteo’s altarpiece of Mary’s assumption—another exemplary mother awakening sons and daughters to the possibility of a new life as she rises majestically from the open tomb. Augustine’s open book, particularly one opened randomly to a phrase, hearkens back to the Sortes Vergilianae. But by the time of Matteo’s panel, it would have had less “pagan” overtones. In her essay in this issue on the Borgherini chapel in Rome, Marsha Libina calls attention to a phrase on a curled piece of parchment from Sebastiano del Piombo’s painting: “it will be opened in time” (aperietur in tempore). Libina notes that the Confessions itself ends with the phrase “sic aperietur” (it shall be opened), and that Augustine uses the verb for opening throughout his text. Or, as Libina writes, in Book VI, Ambrose “opened (aperiret) the true, spiritual meaning of certain pas-","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90484418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Tektonikon and Surfacescape: Architecture and the Body in the Italian Renaissance Tektonikon和Surfacescape:意大利文艺复兴时期的建筑和身体

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697116

M. Trachtenberg

{"title":"Tektonikon and Surfacescape: Architecture and the Body in the Italian Renaissance","authors":"M. Trachtenberg","doi":"10.1086/697116","DOIUrl":"https://doi.org/10.1086/697116","url":null,"abstract":"ONE OF MY CURRENT RESEARCH PROJECTS centers on architectural authorship. Through issues of authorship of a single building I came to reconsider the relationship of body and building in Renaissance architecture by devising the categories of Tektonikon and Surfacescape and exploring their implications— categories to be studied in the course of this essay. It is this train of thought that I present here as a lightly edited version of the Agnes Mongan lecture as it was delivered at I Tatti in 2016. The building at issue is the Pazzi Chapel in Florence. Before my research, it was regarded as the defining work of Brunelleschi, the “inventor” of Renaissance architecture. Emblematic of the entire Renaissance movement, it was considered a high point in architectural history. Thus, the chapel was made the frontispiece of the Heydenreich-Lotz quattrocento volume of the canonical Pelican History of architecture in its original 1970s edition. It also appeared on the cover of the box for the book and on the dust jacket as well. The chapel received celebrity treatment in other standard textbooks. In H. W. Janson’s widely used survey of the history of art, for example, it is allowed an exceptional four images. Its facade was even depicted on several denominations of Italian banknotes in the late twentieth century (before the Euro). Thus, one can understand why many people, and not only art historians, were sensitive to any questioning of Brunelleschi’s authorship of the chapel, as I was doing in lectures and at conferences beginning in the mid-1990s. Such sensitivity became shock and anger, mainly among Italians, particularly Florentines, when at the invitation of Francesco Dal Co, editor of the prestigious architectural journal Casabella, I published a notorious article in 1996, “Why the Pazzi Chapel Is Not","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77163354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Shafii al-Sharif’s Subhat-al-Akhbar in the Medici Collection: Visualizing Royal Genealogy in the Persico-Islamic and the Medici Courts Shafii al-Sharif的Subhat-al-Akhbar在美第奇的收藏:可视化波斯科-伊斯兰和美第奇宫廷的皇室家谱

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697075

Mahnaz Yousefzadeh

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Giovanni Pico della Mirandola and Astrology (1486–1493): From Scientia Naturalis to the Disputationes adversus astrologiam 乔瓦尼·皮科·德拉·米兰多拉与占星术(1486-1493):从自然科学到与占星术的争论

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697034

O. Akopyan

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Silence and Dissent: Tasso’s Challenge to the Discourse of Oikonomia in Il padre di famiglia (1580) 沉默与异议:塔索对《家庭之父》中经济学话语的挑战(1580)

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I Tatti Studies Pub Date : 2018-03-01 DOI: 10.1086/697049

C. Schaefer

{"title":"Silence and Dissent: Tasso’s Challenge to the Discourse of Oikonomia in Il padre di famiglia (1580)","authors":"C. Schaefer","doi":"10.1086/697049","DOIUrl":"https://doi.org/10.1086/697049","url":null,"abstract":"WRITINGS ABOUT THE MANAGEMENT of the household and the family flourished in Renaissance Italy. Writers such as Leon Battista Alberti with his Libri della famiglia (Books on the family; 1433–41), Sperone Speroni with his Dialogo della cura familiare (Dialogue on family care; 1542), and Torquato Tasso with Il padre di famiglia (The father of the family; 1580) commented on housekeeping (governo della casa) or family care (cura familiare). Relying on the tradition of ancient oikonomia, that is, the art of household management, these writers drew from famous works such as Xenophon’s Oikonomikos (The householder), the pseudoAristotelian Oikonomika (Economics) and even the Aristotelian Politics. In premodern oikonomia not only economic aspects in the modern sense of the word (i.e., the treatment of goods and financial questions) were at stake but also the social relationships between family members. That is why major questions driving premodern economic texts are concerned with how a good pater familias should treat his wife, children, and servants and how he should administer the goods of his household—a familymore inclusive than today’s, comprised of all who live together in a household. The following essay will analyze in detail an example from Tasso’s Il padre di famiglia in order to demonstrate how this dialogue challenges traditional economic","PeriodicalId":42173,"journal":{"name":"I Tatti Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80733494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0